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re and you'll love me?" "I love you now. You know I love you." "I know. But if I do it, then it will be nice again if I say things are like white elephants, and you'll like it?" "I'll love it. I love it now but I just can't think about it. You know how I get when I worry." "If I do it you won't ever worry?" "I won't worry about that because it's perfectly simple." "Then I'll do it. Because I don't care about me." "What do you mean?" "I don't care about me." "Well, I care about you." "Oh, yes. But I don't care about me. And I'll do it and then everything will be fine." "I don't want you to do it if you feel that way." (qtd. in Long Maozhong, Yan Jinglan and Wang Hui 386 ) Omitting all the description on the speaking tone, facial expression and actions, the dialogue with the form of only answers between the two figures comes to the reader as if he were listening. That is the essence of the real-life dialogue which is different from the dialogue in absolutely literary language that focuses attention on the action and expression especially. For example, in Henry James’s Daisy Miller, he writes: “I should think it might be arranged,” said Winterbourne. “Couldn’t you get some one to stay for the afternoon with Randolph?” Miss Miller looked at him a moment, and then very placidly, “I wish you would stay with him!” she said. Winterbourne hesitated a moment. “I should much rather go to Chillon with you.” “With me?” asked the young girl with the same placidity. (qtd. in Long Maozhong, Yan Jinglan and Wang Hui 329 ) Obviously, because the third party, namely, the author joins in the dialogue, narrating carefully about the actions, inner minds and facial expressions of the figures substitute being explored by the reader himself. This dialogue is not as direct and suspensive as the real-life dialogue in Hills Like White Elephants, and it loses its charm to give the feeling to the reader that he was listening. Keeping the charm of the real-life style, the dialogue in the Hills Like White Elephants is arbitrary and uncertain. As a matter of fact, the dialogue in absolutely literary language must be arranged with obvious purpose, based on the contents and the plot of the story. But in a real-life dialogue, it is unknown that what will be talked about and what will happen next, and the focus changes arbitrarily and may be interrupted at any time. In a word, the process of the real-life dialogue is full of uncertainties. Similarly, in Hills Like White Elephants, the focus of the dialogue casually begins with an usual trifle about drinking, but it is soon changes arbitrarily to the hills, the bead curtain, the drinks, the operation and so on, and it changes or stops without any advanced information. Therefore, there is no doubt that Hemingway captures the highlight of the real-life dialogue, but his dialogue is never as simple as it seems to be. In fact, the method of composing the details which Hemingway takes into his dialogue fully shows his great ability in language. For the above dialogue chosen from the Hills Like White Elephants, the repeat method, which can obviously show the change of the inner minds and the character of the figures, is usually adopted. Obviously, the disappointment of the girl becomes deeper and deeper when she repeatedly asks questions to the man with “if I do---”. At the same time, she gradually makes compromises to the man with the result that she finally says out “‘I’ll do it.’, ‘I don’t car